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| [nettime-fr] La lettre pourinfos/ du 19-04 au 20-04-2006 / Nouveau / New : Today is Shanghai Time ! #1. |
pourinfos.org l'actualité du monde de l'art / daily Art news -----------------------------------------------------------------------
infos du mercredi 19, avril, 2006 au jeudi 20, avril, 2006 (inclus)
Nouveau / New : Today is Shanghai Time ! #1
Bonjour, Voici une nouvelle "rubrique" sur la vie artistique de Shangai, dirigée par Jérémie Thircuir.
Hello, This is a new "column" on the artistic life in Shangai, selected by Jérémie Thircuir. http://pourinfos.org/expositions/item.php?id=2986
------------------------------------------------------------------- 01 Appel à participation : CALL FOR SUBMISSIONS: The Escape Artists Society (T.E.A.S.) ViPod Gallery works, Vancouver, Canada. http://pourinfos.org/participation/item.php?id=2995 ------------------------------------------------------------------- 02 Appel à participation : ELECTROFRINGE 2006 ? CALL FOR PROPOSALS, Newcastle, Austalie. http://pourinfos.org/participation/item.php?id=2994 ------------------------------------------------------------------- 03 Appel à participation : Festival lavage multiplexage à la Machinante Factory , Montreuil, France. http://pourinfos.org/participation/item.php?id=2993 ------------------------------------------------------------------- 04 Rencontres : Télégum / une muqueuse à image par Thibault Depré & Vincent Rioux, vendredi 21 avril 2006 à 18h, Confluences, Paris, France. http://pourinfos.org/rencontres/item.php?id=2992 ------------------------------------------------------------------- 05 Rencontres : Les formes contemporaines de l’art engagé, Colloque International, es 21 et 22 avril 2006, ISELP, Bruxelles, Belgique. http://pourinfos.org/rencontres/item.php?id=2991 ------------------------------------------------------------------- 06 Rencontres : "Le phénomène sonore dans l'art contemporain", jeudi 4 mai 2006, Musée d'art contemporain de Lyon, Lyon, France. http://pourinfos.org/rencontres/item.php?id=2990 ------------------------------------------------------------------- 07 Rencontres : Biennal as school at the Cooper Union, New York, Usa. http://pourinfos.org/rencontres/item.php?id=2982 ------------------------------------------------------------------- 08 Publication : Art And Its Institutions: Current Conflicts, Critique And Collaborations, Nina Möntmann edition, Hamburg, Allemagne. http://pourinfos.org/publications/item.php?id=2989 ------------------------------------------------------------------- 09 Formation : CuratorLab, konstfack University College of arts, Crafts and Design, Stockholm, Suède. http://pourinfos.org/emploi/item.php?id=2988 ------------------------------------------------------------------- 10 Divers : atelier à Louer, Montpellier, France. http://pourinfos.org/divers/item.php?id=2987 ------------------------------------------------------------------- 11 Divers : clôture du cycle Guy Debord , centre international de poésie Marseille, Marseille, France. http://pourinfos.org/divers/item.php?id=2977 ------------------------------------------------------------------- 12 Exposition : Nouveau / New : Today is Shanghai Time ! #1, Shanghai, Chine. http://pourinfos.org/expositions/item.php?id=2986 ------------------------------------------------------------------- 13 Exposition : L'Ambassade des Possibles, 40mcube / Le Château, Rennes, France. http://pourinfos.org/expositions/item.php?id=2985 ------------------------------------------------------------------- 14 Exposition : HOMESICK – Act I, Akureyri Art Museum, Reykjavík, Islande. http://pourinfos.org/expositions/item.php?id=2984 ------------------------------------------------------------------- 15 Programme : Videoformes, Clermont-Ferrand, France. http://pourinfos.org/expositions/item.php?id=2983 ------------------------------------------------------------------- 16 Exposition : Olivier Nottellet, galerie martinethibaultdelachâtre, Paris, France. http://pourinfos.org/expositions/item.php?id=2981 ------------------------------------------------------------------- 17 Exposition : Mario Nigro. Peggy Guggenheim Collection, Palazzo Venier dei Leoni, Venise, Italie. http://pourinfos.org/expositions/item.php?id=2980 ------------------------------------------------------------------- 18 Programme: the upgrade!istanbul #5, Istanbul, Turquie. http://pourinfos.org/expositions/item.php?id=2979 ------------------------------------------------------------------- 19 Exposition : : Guy Limone, Espace Paul Ricard, Paris, France. http://pourinfos.org/expositions/item.php?id=2978 ------------------------------------------------------------------- 20 Exposition : les Puits du désir (The Wells of desire) OOO Mohamed Rachdi & Co, Église Notre-Dame de Montataire, Montataire Centre , France. http://pourinfos.org/expositions/item.php?id=2976
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 01 Appel à participation : CALL FOR SUBMISSIONS: The Escape Artists Society (T.E.A.S.) ViPod Gallery works, Vancouver, Canada.
ViPod Gallery: Viewing Event - CALL FOR SUBMISSIONS
Deadline for Works: May 4th, 2006
The Escape Artists Society (T.E.A.S.) http://www.escapeartists.ca wants your video art for Vancouver’s first iPod viewing gallery or ViPod Gallery!
This is a fundraising event for Vancouver’s hottest emerging arts society The Escape Artists Society (T.E.A.S.): we put art in unusual spaces – inserting ‘our’ world into ‘there’ world– penetrating public perceptions of culture, genre and form.
Submitted works must be created specifically for screening on Apple’s new video iPod and can be no longer than 5 minutes in duration.
The content and style of your work is open – it can be narrative or non-narrative, personal or political, and presented in an experimental or documentary style.
Play with the notion of “ViPodification” in your work – the small, intimate scale of the iPod may direct your explorations technically and conceptually– “podify” it.
Featured artists are eligible for prize packs featuring treats donated by local designers, artists and businesses.
THE EVENT:
The ViPod Viewing Gallery will take place in a funky uptown social location in Vancouver, BC, Canada.
The space will be set up with special viewing tables: artists and guests will ‘rent’ the ViPods (each featuring a different artist’s work) for short periods – to enjoy, share and discuss the works amongst themselves.
The evening may also feature door prizes, performances and site-specific installations by local artists.
REQUIREMENTS:
Submissions must be original to the artist – they may be new or older pieces that have been modified or “ViPodified” - (altered in some way that addresses the intimate scale of the iPod’s screen) for the viewing environment in mind.
* Max 320 x 240 in dimensions
* Compression codecs to used MUST be either MPEG 4 or H.264, 2.5 mbps(max) at 30 fps
* Max 5 mins, at max 15 megs in total file size
* All audio and video must be original, with credits for all additional artist who worked on the project
* Must include T.E.A.S. logo in credits – this can be downloaded from T.E.A.S. website http://www.escapeartists.ca after April 1st
* Upon submission the artist will be asked to sign an agreement to release the work to T.E.A.S. for limited exclusive use for the first 6 weeks then unlimited, non-exclusive rights from that time forward
TIMELINE:
* Invitation/Call for works: March 24- May 4th, 2006 * Deadline for Works: May 4th, 2006 * Final decisions: May 18th, 2006 * Fundraiser: June 6th, 2006
To send your submissions please contact:
Camille Baker at camille@telus.net or Victoria Singh at victoria-singh@telus.net or snail mail cd files to:
The Escape Artists Society 1009 Semlin Drive Vancouver, BC V5L 4J9 Canada
_________________________________ THE ESCAPE ARTISTS SOCIETY
The Escape Artists Society (TEAS)–officially registered in June 2005– is an emerging non-profit arts organization that aims to present and promote new media, experimental music, visual, wearable and live art experiences in unusual locations and environments. We rely on government grants and fund-raising events to finance our existence.
KEY GOALS
* To expose the public and arts community to ‘acts of live art ‘as part of their ‘everyday life’ (local +national). * To facilitate inspiring educational experiences–encourage the general public, artists and students to participate in events that will enrich their appreciation of art, media, technology and sound art. * Support the research, creation, presentation, production, exhibition and promotion of work by emerging, mid-career and established Canadian and international artists.
WHO ARE WE
T.E.A.S came to be when the key organizers: Camille Baker and Victoria Singh identified the need for a fresh approach to presenting unusual creative experiences to audiences in Vancouver. Despite the numerous organizations in the community mandated to provide work of this nature: they observe the limitations and frustrations many artists experience in terms of support, development and curatorial ingenuity. Both organizers have sound curatorial and arts administrative experience coupled with an outstanding reputation within the local and national arts community.
In addition, Baker and Singh are supported by a working board of professional women, who are involved in fundraising and other organizational activities, planning of events, and the management of the society. They are Dr. Susan Kozel (president), Cindy Poremba (treasurer) and Valorie Pudsey (secretary).
ACTIVITIES TO DATE
The Knitting Circle- a monthly discussion group (started in May 2005) for performance artists- featuring guest speakers, workshops and archival video evenings. This event is co-sponsored by The Western Front Performance Art Program.
LIVE Biennial 2005- TEAS presented a work by new media artist Mark Brady called Difference and Repetition for Voice 1 on November 5,2005 at the Beehive Hair Salon on Main Street. This was a popular event and very well received by audience members.
SLITS 2- a multi-disciplinary performance evening featuring six artists performing simultaneously inside separate designer ‘booths’ : Archer Pechawis, Lois Klassen, Naufus Ramirez-Figueroa, Heidi Nagteegal, David Khang and Helge Meyer (Germany). This event received a favorable preview in the Georgia Straight– also co-sponsored by Western Front Performance Art.
UPCOMING
SITE/UNSCENE– site-specific media art and live performance media presentations, by nationally celebrated artists at various locations within Vancouver.
For more information on T.E.A.S. go to http://www.escapeartists.ca
:. Camille Baker The Escape Artists Society Co-Executive Director/ Curator Vancouver, BC, Canada http://www.escapeartists.ca :.
Source : NetBehaviour
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 02 Appel à participation : ELECTROFRINGE 2006 ? CALL FOR PROPOSALS, Newcastle, Austalie.
DEADLINE WEDNESDAY MAY 31 2006
Electrofringe is now calling for proposals for this year?s festival
from artists, media makers, curators, researchers, writers, producers, enthusiasts, etc.
Electrofringe is a heads up, hands-on, all-in festival of experimental, electronic, digital and new media arts and culture. It is dedicated to unearthing emergent forms, highlighting nascent trends and encouraging participants to explore technology and its creative possibilities.
Part of the ?This Is Not Art? umbrella of Festivals in Newcastle, NSW, this year Electrofringe will occur from 28th September to 2nd
October and will feature artists from all over Australia as well as
visiting international guests.The directors for Electrofringe 2006
are Ben Byrne, Cat Jones and Sumugan Sivanesan
To submit a proposal go to www.electrofringe.net and fill out the ?Call For Proposals? form.
------------------------------------------------------------
Sumugan Sivanesan / Ben Byrne / Cat Jones Electrofringe Co-directors
Electrofringe 06 A festival of digital, electronic, new media and experimental culture September 28 - October 2 Newcastle New South Wales
http://www.electrofringe.net
EGROUP - http://groups.yahoo.com/group/electrofringe/
------------------------------------------------------------
The Australian Government is proud to be associated with this festival. This project was made possible by Festivals Australia, an
Australian Government program which supports cultural activity at regional and community festivals.
Electrofringe 2005 gratefully acknowledges the financial assistance
received from The Australian Council for the Arts, New Media Arts,
The Australian Film Commission, New South Wales Film and Television
Office and Newcastle City Council.
Presented in assocation with : ABC Radio National's 'The night air', The Night Air is broadcast each Sunday from 7.10pm to 7.40pm and from 9.05pm to 10pm, and again on Saturday at midnight. The Night Air is
an ever-changing radio composition of music, sounds, ideas and stories.
Electrofringe partners include Electronic Arts School of Contemporary Arts University of Western Sydney, Rocketart Gallery, Feild Gallery, Newcastle Region Art Gallery, dLux media arts, Newcastle LiveSites,
RealTime, Art Asia Pacific, vibewire.net and SBS Radio Alchemy.
Electrofringe is brought to you by the Octapod Association and is part of the annual This Is Not Art festival. http://www.octapod.org (02)4927 0470
------------------------------------------------------------
Sumugan Sivanesan / Ben Byrne / Cat Jones Electrofringe Co-directors
Electrofringe 06 A festival of digital, electronic, new media and experimental culture September 28 - October 2 Newcastle New South Wales
http://www.electrofringe.net
EGROUP - http://groups.yahoo.com/group/electrofringe/
------------------------------------------------------------
The Australian Government is proud to be associated with this festival. This project was made possible by Festivals Australia, an
Australian Government program which supports cultural activity at regional and community festivals.
Electrofringe 2005 gratefully acknowledges the financial assistance
received from The Australian Council for the Arts, New Media Arts,
The Australian Film Commission, New South Wales Film and Television
Office and Newcastle City Council.
Presented in assocation with : ABC Radio National's 'The night air', The Night Air is broadcast each Sunday from 7.10pm to 7.40pm and from 9.05pm to 10pm, and again on Saturday at midnight. The Night Air is
an ever-changing radio composition of music, sounds, ideas and stories.
Electrofringe partners include Electronic Arts School of Contemporary Arts University of Western Sydney, Rocketart Gallery, Feild Gallery, Newcastle Region Art Gallery, dLux media arts, Newcastle LiveSites,
RealTime, Art Asia Pacific, vibewire.net and SBS Radio Alchemy.
Electrofringe is brought to you by the Octapod Association and is part of the annual This Is Not Art festival. www.octapod.org (02)4927 0470
------------------------------------------------------------
Sumugan Sivanesan / Ben Byrne / Cat Jones Electrofringe Co-directors
Electrofringe 06 A festival of digital, electronic, new media and experimental culture September 28 - October 2 Newcastle New South Wales
http://www.electrofringe.net
EGROUP - http://groups.yahoo.com/group/electrofringe/
------------------------------------------------------------
The Australian Government is proud to be associated with this festival. This project was made possible by Festivals Australia, an
Australian Government program which supports cultural activity at regional and community festivals.
Electrofringe 2005 gratefully acknowledges the financial assistance
received from The Australian Council for the Arts, New Media Arts,
The Australian Film Commission, New South Wales Film and Television
Office and Newcastle City Council.
Presented in assocation with : ABC Radio National's 'The night air', The Night Air is broadcast each Sunday from 7.10pm to 7.40pm and from 9.05pm to 10pm, and again on Saturday at midnight. The Night Air is
an ever-changing radio composition of music, sounds, ideas and stories.
Electrofringe partners include Electronic Arts School of Contemporary Arts University of Western Sydney, Rocketart Gallery, Feild Gallery, Newcastle Region Art Gallery, dLux media arts, Newcastle LiveSites,
RealTime, Art Asia Pacific, vibewire.net and SBS Radio Alchemy.
Electrofringe is brought to you by the Octapod Association and is part of the annual This Is Not Art festival. www.octapod.org (02)4927 0470
Source : artinfo
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 03 Appel à participation : Festival lavage multiplexage à la Machinante Factory , Montreuil, France.
La Machinante MOntreuil organisé par les coeurs purs et autres denrées...
Appels à participation
Festival lavage multiplexage à la Machinante Factory du 12 juin au 2 juillet
Nous attendons vos projets et propositions jusqu’au 25 avril 2006.
APPEL A ARTISTE(S)
Festival lavage multiplexage à la Machinante Factory
Multiplexage : Fonction multiple à balayage dans un système de transmissions d’informations numériques/ technique permettant de transmettre plusieurs messages sur une seule voie ; regroupement de plusieurs voies de transmissions en une seule ou éclatement d’une voie en plusieurs autres.
AVIS AUX ARTISTES et autres denrées…,
Sommes-nous salis, encrassés, ramollis, souillés par la pensée pixélisée, le blanchiment de la pensée politique, le propre proprement insupportable au point de ne plus pouvoir bouger?
Sommes-nous gagnés par une hygiène de la propreté, du tri, du tri sélectif, du mot lisse, pas plus haut qu’un autre au point de ne plus pouvoir crier?
Sommes-nous embourbés dans ce grand merdier au point de se laisser mourir la bouche ouverte gavée de mégabits ?
Que faire face au lavage de cerveau ; au lavage de l’information dans la désinformation planétaire, au lessivage des différences dans l’indifférence, au nettoyage ethnique ?
Régurgiter par nos purs orifices !
Aspirez, expirez !
Aspirons ensemble à autre chose !
Aujourd’hui, il faut laver partout, par tous les moyens ; décortiquer, extraire, ex tracter du silence la souffrance ; il faut un lavage du corps collectif, intime, social. Une grande lessive du prêt à penser, du prêt à baiser, du prêt à consommer, du pré carré de la pensée à angle droit et des actions à angles morts. Laver à rebrousse poil, à contre sens, à l’envers, renverser les idées, se penser à l’endroit, à l’endroit où il faut agir aujourd’hui.
Le festival est un moment de résidence regroupant des artistes selon des thématiques établies et choisies ensemble, touchant au lavage salissage. Les résidences se dérouleront du 12 juin au 2 juillet 2006, elle pourront être d'une, deux ou trois semaines. le festival permet à des artistes de mettre en commun des savoir faire, d'imaginer des oeuvres communes, de continuer une réflexion sur sa propre oeuvre, et son propre processus de création. Il s'agira de rester toujours en lien avec l'ensemble. Chaque semaine, les vendredis et samedis soirs, les portes seront ouvertes et des oeuvres de l'ordre de la performance, de la musique improvisée, de l'installation, de la poésie sonore..., qui auront été imaginées, mises en action lors de la résidence, seront montrées à La Machinante Factory de Montreuil, en intérieur et en extérieur.
Cet événement défend et revendique la synthèse des médiums ; théâtre, musique, arts plastiques, cinéma, écriture, danse, art culinaire…et souhaite relier, rassembler les artistes à d’autres activistes de la pensée : psychologues, sociologues, cuisiniers, sage-femme, historiens, médecins, politiciens, jardiniers…
Nous souhaitons proposer aux spectateurs, au cours d’une même soirée ou journée, une œuvre faite en commun, utilisant tous ces médias. L’homogénéité des journées ou soirées se fera vraisemblablement autour de thèmes de lavage tels que :
« lavage de nos langues », « lavage de nos frustrations, peurs, autosatisfactions », « lavage de nos politiciens acamerdiques », « lavage de notre suprématisme blanco-français », « lavage en réseaux »…
Avis aux agents détergents, agents décapants, agents perturbateurs et inspirés par cette laverie tourbillonnante.
Si, comme nous, vous voulez laver le regard, laver l’ouie, laver les 7 sens du terme, laver les mots, vous laver de l’Histoire, individuelle, collective, pour retrouver la crasse qui fait mal au propre, au sens propre, trop propre, laver à sec, à froid, à chaud, sur la braise et la tangente, dans l’entre-deux mots, l’entre-deux sons, l’entre-deux, la rencontre. Rejoignez nous !
La thématique reste ouverte et certains de ces thèmes pourront s’enrichir de toutes propositions.
Nous attendons vos projets et propositions jusqu’au 25 avril 2006. Première rencontre avec les artistes choisis, le jeudi 27 avril à 15h30 (jusqu'à 18h), à La Machinante.
Nous souhaitons que des artistes se rencontrent, et c’est là une de nos premières motivations. Ainsi, des projets « en gestation », des « work in progress » comme on dit, ou des projets « ouverts » pourrons être retenus pourvu que les artistes qui amènent ces projets acceptent qu’ils soient remis en jeu, réinvestis, par tous les artistes du Lavage (propositions de travail sur un auteur, un thème particulier de lavage…) …pourvu que nous ne quittions pas des yeux notre grande lessive !
Envoyez dès maintenant vos projets à coeurspurs@club-internet.fr
Toute proposition de lavage sera proprement étudiée.
Pour en savoir plus sur La Machinante Factory et Les cœurs purs et autres denrées… : http://coeurs.purs.free.fr et http://la.machinante.free.Fr
Le festival est autoproduit par la Machinante Factory et Les cœurs purs et autres denrées… qui sont eux-mêmes autoproduits, indépendants. Un festival low tech donc!
La Machinante Factory, Montreuil, mars 2006.
La Machinante Didier Calleja/ Blandine scelles Cie les coeurs purs et autres denrées... 26 rue Rochebrune 93100 Montreuil Métro Mairie de montreuil 01 48 51 02 54 coeurspurs@club-internet.fr http://coeurs.purs.free.fr
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 04 Rencontres : Télégum / une muqueuse à image par Thibault Depré & Vincent Rioux, vendredi 21 avril 2006 à 18h, Confluences, Paris, France.
Télégum / une muqueuse à image par Thibault Depré & Vincent Rioux
Une machine muqueuse – donc – absorbant le flux des images télévisuelles mondiales : nous ne déciderons pas s'il est source d'aliénation spectaculaire continu ou élargissement du champ des perceptions humaines mais le prendrons comme sablier d'images/pixels à réinvestir corps et âme. Des cordes/chambres à air pendent, nos bras les saisissent et les tirent légèrement ou fortement. Des roues à peine voilées font glisser les images, autorisent une navigation perdue d'avance ou bien retrouvée à grand peine. Les images émises se superposent, se fragmentent ou disparaissent au rythme des tensions des cordes. L'approche est ludique ou grave – le calculateur lui, absorbe les données des capteurs de pressions et de positions et, toujours égal en digestion, secrète des images animées ou des émissions télévisuelles en cours. Du mercredi 19 au samedi 29 avril • Confluences • Rencontre le vendredi 21 à 18h
Rencontre Installations • Flavien Théry – Vincent Rioux – 4 Ophones Vendredi 21 avril • Confluences • 18h • entrée libre
Confluences 190, Bd Charonne 75020 Paris 20ème - M°: Alexandre Dumas - Tel: 01.40.24.16.34 http://www.confluences.net/
http://www.arslonga.org/malaupixel/installations/
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 05 Rencontres : Les formes contemporaines de l’art engagé, Colloque International, es 21 et 22 avril 2006, ISELP, Bruxelles, Belgique.
"Les formes contemporaines de l’art engagé" Colloque International
les 21 et 22 avril 2006
La dimension politique et sociale de la création plastique - son "utilité" citoyenne de validation, de contestation ou simplement de questionnement du système en place- a toujours été au cœur de bien des pratiques artistiques. Ces travaux portent sur des enjeux relevant du domaine du politique, de la nécessité d’engagement pour l’artiste-citoyen, jusqu’à la question même de l’utilité sociale de l’art, déclinés selon des orientations aussi fondamentales que la démocratie participative, l’antiracisme, l’altermondialisme, l’antifascisme, la dénonciation de toute précarité ou de toutes les dérives sociétales qui nous assaillent… Organisé par l’Institut supérieur pour l’étude du langage plastique (ISELP), un colloque international traitera « de l’art contextuel aux nouvelles pratiques documentaires: les formes contemporaines de l’art engagé ». Il s’organisera en trois plate-formes: d’abord un programme scientifique autour de sujets génériques concernant l’art engagé avec, entre autres, Muriel Andrin, docteur en cinéma et professeur à l'ULB et Daniel Vander Gucht, responsable du Groupe de recherche en sociologie des arts et des cultures. Ensuite, chaque jour en fin d’après-midi, un forum autour et en compagnie d’artistes -Yves Depelsenaire, fréderic Jacquemin, Kader Mokaddem, Tania Nasielki, Caroline Serra, Françoise Vincent+Elohim Feria. Enfin, en prolongement des débats, un programme de projections de courts, moyens et longs métrages, présentés de 9h à 21h à dans différents espaces.
Dates et lieu: les 21 et 22 avril, à l’ISELP, 31 boulevard de Waterloo à 1000 Bruxelles. Prix: une journée, 10 euros (8 euros pour membres ISELP, étudiants, chômeurs) ; deux jours, 15 euros (12 euros pour membres ISELP, étudiants, chômeurs). Infos: ISELP, 02 504 80 70, http://www.iselp.be ou stagiaire@iselp.be
Las formas contemporáneas del arte comprometido
La dimensión política y social de la creación plástica - su "utilidad" ciudadana de validación, de contestacion, o simplemente de cuestionamiento del sistema de turno - han estado siempre en el corazón de muchas prácticas artísticas. Dichos trabajos tratan de posturas concernientes al ramo de lo político, de la necesidad de compromiso del artista ciudadano, hasta el interrogante de la utilidad social del arte, declinadas segun orientaciones tan fundamentales como lo son : la democracia participativa, el antiracismo, el altermundialismo, el antifacismo, la denunciación de todo tipo de precariedad o de todas las derivas societales que nos agobian.… Organizado por el Instituto superior por el estudio del lenguaje plástico (ISELP), un coloquio internacional tratará "del arte contextual a las nuevas prácticas documentales: las formas contemporáaneas del arte comprometido". El coloquio se organisará según tres plataformas : primero un programa científico alrededor de sujetos genéricos concernientes al arte comprometido, entre otros- Muriel Andrin, doctor en cine y profesor en la universidad Libre de Bruxelas y Daniel Vander Gucht, responsable del "Grupo de investigación en sociología de las artes y de las culturas. Sigue, cada día al final de la tarde, un foro alrededor y en compañia de los artistas - Yves Depelsenaire, fréderic Jacquemin, Kader Mokaddem, Tania Nasielki, Caroline Serra, Françoise Vincent+Elohim Feria. En prolongación a los debates, una programación de cortos y largometrajes seran presentados de 9h a 21h en diferentes espacios. Fecha y lugar : 21-22 de abril 2006, en el ISELP, 31 Boulevard de Waterloo, 1000 Bruxelas.
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 06 Rencontres : "Le phénomène sonore dans l'art contemporain", jeudi 4 mai 2006, Musée d'art contemporain de Lyon, Lyon, France.
Musée d'art contemporain de Lyon
Conférence "Le phénomène sonore dans l'art contemporain"
Jeudi 4 mai 2006 au Musée d'Art Contemporain de Lyon de 18 h 30 à 20 h
Conférence autour de l'expo Anna Halprin de 18 h 30 à 20 h
"Le phénomène sonore dans l'art contemporain" par Sylvie Lagnier, docteure en histoire de l'art.
La grande quantité de techniques pour enregistrer, traiter, reproduire et diffuser des sons a généré un grand nombre de types d’œuvres. Les qualités sonores du corps, la résonance de la matière, les possibilités expressives du bruit, l’usage de la voix, du cri à la parole, ou encore la composition musicale désignent quelques approches des travaux d’artistes du XXème et XXIème siècles dans les arts plastiques.
ENTRÉE LIBRE, SANS RÉSERVATION
Musée d'Art Contemporain de Lyon Cité Internationale 81 quai Charles de Gaulle 69006 Lyon + 33 (0)4 72 69 17 17
Pour plus d'informations sur le musée www.moca-lyon.org
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 07 Rencontres : Biennal as school at the Cooper Union, New York, Usa.
BIENNIAL AS SCHOOL AT THE COOPER UNION
Organized by the School of Art at The Cooper Union in cooperation with the Department 2 of Manifesta 6 School
April 28, 2006 6:30 to 8:30 pm The Cooper Union, Hewitt Building (Room 207), 41 Cooper Square
Free and Open to the Public SPACE IS LIMITED. Please RSVP to Margaret Wray (212) 353-4268 or mwray@cooper.edu
The Cooper Union School of Art will host a Symposium on April 28th to discuss some of the reasons that motivated the curators of the Manifesta 6, European Biennial of Contemporary Art, to propose an Art School for the biennale in Nicosia, Cyprus. What are the conceptions of art, schools, and art schools that informed this proposal? And how do the three proposed models complement and challenge each other?
The panel consists both of organizers of the Biennial as of participants to the workshops in Cyprus in the fall of 2006. Being artists and theorists in their own right, the members of the panel will undoubtedly also highlight their personal views and areas of expertise. The panel will include:
Liam Gillick, artist, Critic of Sculpture at Columbia University
Boris Groys, Professor of Philosophy and Media Theory at the Academy for Design in Karlsruhe and Global Distinguished Professor of Russian & Slavic Studies at NYU
Nikolaus Hirsch, architect and Unit Master at the Architectural Association in London
Walid Raad The Atlas Group, artist, Professor of the School of Art, The Cooper Union
Martha Rosler, artist, Professor at Mason Gross School of the Arts, Rutgers University
Jalal Toufic, artist, writer, film theorist, based in Beirut
Anton Vidokle, artist, co-curator, Manifesta 6
Introduction: Saskia Bos, curator, Dean of the School of Art, The Cooper Union
Free and Open to the Public SPACE IS LIMITED. Please RSVP to Margaret Wray (212) 353-4268 or mwray@cooper.edu
Source : e-flux
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 08 Publication : Art And Its Institutions: Current Conflicts, Critique And Collaborations, Nina Möntmann edition, Hamburg, Allemagne.
Art and its Institutions Current conflicts, critique and collaborations Black Dog Publishing (London) 2006
/ /
/Art and its Institutions /is a comprehensive reader on current institutional conditions and the role of institutions within artistic processes, offering a powerful insight into the diversity of art institutions and their practice today.
The book examines the interests of the various institutions involved in the production and mediation of art, and explores the impact these institutions have on the contemporary art world. It covers topics including the decline of the welfare state; the advanced corporatisation of institutions; the art space and notions of democracy; curating with institutional visions; the role of art academies and education; new collectives and self-organisation; the need for transgressive institutions; a re-evaluation of institutional critique of the 1970s and 90s; and the introduction of new models of critique in artistic and institutional practice. Two exhibition projects, /Spaces of Conflict/ and /Opacity/, are also discussed in terms of their relationship to the controversies and desires provoked by institutions.
With contributions from: Nina Möntmann, Nanna Kildal, Roger M Buergel, Anselm Franke, Maria Lind, Mike Bode and Staffan Schmidt, Andrea Fraser, Sven-Olov Wallenstein, Beatrice von Bismarck, Jan Verwoert, Simon Sheikh, Marita Muukkonen and Chris Evans, Anthony Davies, Stephan Dillemuth and Jakob Jakobsen, Tone Hansen, Trude Iversen, and 16 Beaver Group.
Paperback 192pp 60 colour & b/w ills. 16 x 22 cm / 6 x 8.5 in ISBN 1 904772 50 1 UK £19.95 US $29.95 CAN $39.95
http://www.bdpworld.com/books/contact.html#intorders
Source : transform
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 09 Formation : CuratorLab, konstfack University College of arts, Crafts and Design, Stockholm, Suède.
CALL FOR APPLICATIONS:
CuratorLab 2006/2007 Stockholm – Paris – Nicosia – Istanbul – Berlin http://www.konstfack.se/konstfack/jsp/polopoly.jsp?d=10&t=1&l=en
A combination of a residency and a research/project based program, which will travel between Stockholm, Paris, Nicosia, Istanbul and Berlin.
Application Deadline May 15, 2006
The new CuratorLab is an international one-year residency and a research/project based program designed for emerging curators, critics, artists, writers and theorists. CuratorLab provides a test bed for each participant underpinned by an intense critical dialogue with an international core-faculty, and invited curators, artists and theorists and other experts who participate in seminars and discussions. Participants are expected to develop the content of the program by organizing special seminars on their research topics in collaboration with the faculty of CuratorLab and international institutions.
>From 2006 CuratorLab is a traveling program, meaning that participants may choose to live where they wish as the seminars move between Stockholm, Berlin, Paris, Nicosia and Istanbul between September 2006 and June 2007.
The program is structured into one or two-week intense residencies in a city every month. Each residency will consist of a seminar with one or several invited international guest speakers, as well as studio visits and meetings with artists, curators, theorists and other professionals of interest for the participants in each city. Participants will also be expected to organize short public presentations in each city.
Projects Each participant is expected to produce an individual or collaborative project; the final form of the project, and where it is presented, is decided by each participant in dialogue with their personal advisor, who he or she has chosen. CuratorLab provides each participant access to its extensive international network of cultural institutions and alternative project spaces.
Collaborators 2006/2007 Collaborators with CuratorLab for 2006/2007 are Platform Garanti Contemporary Art Center in Istanbul and its director Vasif Kortun, Centre Culturel Suedois in Paris, Moderna Museet and its curator John Peter Nilsson and Bonniers Konsthall and its director Sara Arrhenius in Stockholm. CuratorLab has also together with five other institutions been invited by the Manifesta 6 curators Mai Abu El Dahab, Anton Vidokle and Florian Waldvogel to collaborate with Manifesta 6 in Nicosia in the fall of 2006. CuratorLab will travel to Nicosia for at least two residencies with the goal to produce a collaborative project to be presented at Manifesta 6 in the late fall of 2006.
Program Committee Måns Wrange (artist and professor at The Department of Fine Arts, Konstfack, Stockholm) Karina Ericsson Wärn (curator and writer) Ronald Jones (professor of Interdisciplinary Studies at Konstfack, artist and writer for Frieze and Artforum among other international magazines) Marysia Lewandowska (artist and professor at The Department of Fine Arts, Konstfack)
Information and application forms http://www.konstfack.se Phone: +46 8 450 41 00, Fax: +46 8 450 41 29 Email: curatorlab@konstfack.se
Source :artandeducation
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 10 Divers : atelier à Louer, Montpellier, France.
A louer à partir de cet été:
Montpellier, quartier Renouvier/Figuerolles atelier dans cour arborée rez de chaussée 45m2 mezzanine 12m2 point d'eau elec. wc à l'étage commun. Eclairage naturel verrière exposition nord hauteur sous plafond 3m 70 une place de parking devant l'atelier sol chape béton murs et plafond blancs bon état. non habitable. calme.
convention d'occupation artistique(activités commerciales exclues) d'un an renouvelable. dépôt demande jusqu'au 1er juin 2006. références exigées. prix: 415 euros
Laissez un message sur cette adresse,ainsi que vos coordonnées, merci. Nous vous rappellerons. art-lareserve@wanadoo.fr
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 11 Divers : clôture du cycle Guy Debord , centre international de poésie Marseille, Marseille, France.
"Cocteau a inventé les miroirs comme des choses à traverser. J'invente les miroirs comme obstacles."
Jack Spicer
FIDMARSEILLE 14 allée léon gambetta 13001 marseille tel / fax : +33 (0)4 95 04 44 90 / 91 - web : www.fidmarseille.org
ESTAMIRA de Marcos Prado, Grand prix de la Compétition Internationale et lauréat du Prix du Groupement National des Cinémas de Recherche au FIDMarseille 05 a été projeté au cinéma Le Chambord à Marseille le lundi 3 avril à 21h30 dans le cadre d'une carte blanche proposée au FIDMarseille par les Rencontres Cinématographiques Sud-Américaines. http://www.aspas-marseille.org
PIERRE QUI ROULE de Frédéric Mainçon, sélectionné en Compétition Française et en Compétition Premier au FIDMarseille 05 a été projeté le 18 avril 2006 à L’entrepôt à 19h30 et 20h45. Les projections ont été suivies d’un concert Denis Charolles & Fantasio L'entrepôt - 7/9 rue Francis de Pressensé 75014 Paris
ONE + ONE de Jean-Luc Godard, présenté au FIDMarseille 03 dans le cadre de l’écran « Du son à l’image » sera projeté au cinéma les Variétés le samedi 29 avril 2006 en avant-première de sa sortie nationale du 3 mai 2006. La projection sera présentée par Jean-Pierre Rehm, délégué général du FID. Les Variétés - 37 rue Vincent Scotto 13001 Marseille
A l’invitation du Confort Moderne de Poitiers, le FID a proposé, le 6 avril 2006, une sélection de films documentaires présentés au FIDMarseille 03 dans le cadre des écrans « Du son à l’image » et « Camera nova » : ONE + ONE de Jean-Luc Godard BLANCHE NEIGE LUCIE de Pierre Huygues ROCK MY RELIGION de Dan Graham MOUVEMENT 2 SUR UN POLDER de Jean-Baptiste Bruand GET RID OF YOURSELF de Bernadette Corporation ONE ROOM MAN de Boris Tomschiezek KING KONG de Peter Friedl http://www.confort-moderne.fr
DREYER POUR MEMOIRE : EXERCICE DOCUMENTAIRE de Olivier Derousseau, sélectionné en Compétition Française au FIDMarseille 05 sera projeté le mercredi 19 avril à 19h30 au Centre Social Julien. Centre Social Julien, cours Julien 13006 Marseille
Le cipM propose l’exposition « Guy Debord – Documents situationnistes » du 10 mars au 29 avril 2006 au cipM CipM - Centre de la Vieille Charité / 2, rue de la Charité - 13002 Marseille http://www.cipmarseille.com/
Rencontre avec Aurélie Filippetti, Présidente du FIDMarseille, le 4 mai 2006 à 17h00 à L’Alcazar / BMVR de Marseille, en collaboration avec Libraires à Marseille, autour de son second roman Un homme dans la poche, sorti le 1er mars 2006 aux Editons Stock. Cette rencontre sera animée par Pascal Jourdana, journaliste littéraire http://www.bmvr.mairie-marseille.fr
Table-ronde « Le son au cinéma », dans le cadre de l’événement « Sons de plateau » le samedi 8 avril à Montévidéo (Marseille) avec Noel Akchoté, Daniel Deshays, Thierry Jousse, Barre Phillips et Jean-Pierre Rehm http://www.grim-marseille.com
Le 3ème Festival du Film Documentaire de Chine aura lieu du 18 au 23 avril à Nanjing et Hefei en parallèle au 3ème Salon Annuel des Films Indépendants Chinois. Jean-Pierre Rehm y est invité à parler du documentaire contemporain avec d’autres responsables de festivals documentaires.
FIDMARSEILLE 14 allée léon gambetta 13001 marseille tel / fax : +33 (0)4 95 04 44 90 / 91 - web : http://www.fidmarseille.org
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 12 Exposition : Nouveau / New : Today is Shanghai Time ! #1, Shanghai, Chine.
Bonjour, Voici une nouvelle "rubrique" sur la vie artistique de Shangai, dirigée par Jérémie Thircuir.
Hello, This is a new "column" on the artistic life in Shangai, selected by Jérémie Thircuir.
1. 1918 Art Space
from Sun, 23rd April until Sun, 7th May : Cartography of Intimate Portraits > After a four weeks residency at 1918 ArtSPACE Warehouse, French Artist Maria Das Dores Berthomme will exhibit her installation work (video, charcoal drawings, as well as a dress installation, made in collaboration with fashion designer Fiona Von). Maria's work has consisted in exploring Shanghai and his population by interviewing and by filming seven of his inhabitants, either locals or foreigners. The whole installation is the reflection of what the artist experienced in the city, the people she's met, and what deeply influenced her. All of her work appears as a patchwork of architectural and sculptural elements, with a large part given to visual symbolism and to the idea of working process. http://www.1918artspace.com
2. Aura gallery
from Sat, 22nd April until Tue, 16th May : Wonderland > Maleonn on his "Wonderland" exhibition: "My photography...is just like life: unpredictable and full of hints, but no answers... we are trying to understand the deeper meaning of our culture." Oening reception will be held on April 22nd, from 3pm-8pm. Maleonn's father was Shanghai's leading opera director at the time of his and his family's banishment to a re-education camp during China's Cultural Revolution, resulting in a hard-scrabble childhood for Maleonn who was conceived in the camp. From this early life of hardship and constrained opportunity, Maleonn has emerged as a major cultural figure in 21st Century Shanghai. http://www.aura-art.com
3. SH Space (ShanghART gallery).
from Thu, 20th April until Fri, 5th May : Ding Yi's Works > From '89-'06, Ding Yi has become one of the best known abstract Chinese artists with many exhibitions in China and all over the world to his credit. Ding Yi's work itself, still based on the same symbol of the "+" or cross he uses since 1989, developed strongly. A simple cross of two lines, its infinite complexity and extensiveness is able to capture your sight in ever new ways and intensities. Ikon Gallery (UK) invited Ding Yi to hold a retrospective exhibition of his in 2005. It was one of the rare solo exhibitions of a mainland Chinese artist in a major international museum, resulting in critical acclaim. http://www.shanghart.com/
4. Zendai museum of modern art
from Sat, 15th April until Wed, 26th April : Yansong Ma & Wang Hui > Two young architects Yansong Ma and Wang Hui's work will be on displayed around the themes "architecture" and "future". As the most architecture-saturated country, China has attracted a number of a-list overseas architects and studios which contribute to this nation a handful of works as the national grand theatre and Olympic stadium. Architecture accordingly comes to the fore of arts in China, and on top of that, exhibitions of contemporary art provide a laboratory for cutting-edge architectural works, for instance, architects frequent the shows offering the space layout as well as some artworks, or in other cases, collaborating with some installation artists. Opening will be held on Sat April 15th, 3pm.
Yansong Ma, born in the 1970s, has already stepped onto the international stage of the industry. His studio MAD has participated in many competitions with a number of original projects. Ma's practice focuses on the representation of the contemporaneity and the exploration of the harmonious combination of architecture, urban environment and lifestyle in a digitalized time. Lately, MAD stood out in a Canadian competition and will work on a 50-storey complex building in the city Mississauga.
With a unique style, Wang Hui highlights the regional features in his design, that's to say, the layout varies with the locale, making most of the local resource and embodying its cultural traits. His unstrained design refuses to fit in any pigeonholes but absorbs anything he feels good to enhance the simultaneous facet of his state of mind. His design mainly falls into two categories, the rapid pace that echoes the evolving social changes on one hand, and the static that rules the soul of the work. http://www.zmuseum.org
Selected by: Jérémie Thircuir Pour pourinfos.org
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 13 Exposition : L'Ambassade des Possibles, 40mcube / Le Château, Rennes, France.
40mcube / Le Château présentent :
Vernissage le samedi 3 juin 2006 à partir de 17:00 Exposition du 3 juin au 29 juillet 2006
Le chateau 30 avenue Sergent Maginot 35 000 Rennes
COMMUNIQUEDE PRESSE
L’Ambassade des PossiblesVirginie Barré, Julien Celdran, Philippe Parreno, Sébastien Vonier.
Pour l’inauguration et la première exposition du Château, Julien Celdran met en place L’Ambassade des Possibles, reprenant les éléments de façade, drapeaux et plaque de cuivre, d’une telle institution. Celle-ci, en l’occurrence, représente un Etat imaginaire, ou un Etat sans pays, lieu de tous les possibles.
Cette ambassade porteuse d’utopie anarchiste constitue à la fois le cadre physique et conceptuel de l’exposition du même nom. La vidéo No more reality de Philippe Parreno, par le biais d’enfants défilant avec banderoles et slogans, revendique son titre et constitue un véritable manifeste*. Les sculptures inspirées de plans de villes de Sébastien Vonier, présentées dans l’espace documentation du rez-de-chaussée, prennent une tournure ambiguë. Leurs formes familières oscillent entre fonctionnalité et abstraction.Une envolée qui se poursuit et se traduit dans le travail de dessin et de texte que Virginie Barré réalise au premier étage du Château.
Ainsi l’exposition et les oeuvres de L’Ambassade des Possibles créent une certaine progression. Elles partent d’éléments tangibles du réel, en adoptent les formes et le réalisme, tout en glissant vers des imaginaires, avec des récits qui prennent la liberté de ne pas garder les pieds sur terre.
Informations pratiques
Vernissage le samedi 3 juin 2006 à partir de 17:00 Exposition du 3 juin au 29 juillet 2006
Ouverture du mardi au samedi de 14:00 à 18:00 et sur rendez-vous Visites commentées et accueil de groupe sur réservation
Contact presse : amac 7 bis rue des Chambellest/f 02 40 48 55 38 Virginie Lardière > 06 60 97 21 29 Céline Guimbertaud > 06 62 77 20 11contact@amac-web.com
La vidéo No more reality de Philippe Parreno est prêtée par le Frac Lorraine
40mcube / Le Château reçoit le soutien du ministère de la culture et de la communication – DRAC Bretagne, de la Ville de Rennes, du Conseil régional de Bretagne, du Conseil général d’Ille-et-Vilaine, des cidre et jus de pommes Bernard – Bannalec.
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 14 Exposition : HOMESICK – Act I, Akureyri Art Museum, Reykjavík, Islande.
Akureyri Art Museum, Iceland Opening: Saturday, May 6, at 3 PM Duration: May 6 - June 25, 2006
Press downloads: http://www.cia.is/news/homesick_press.htm
HOMESICK – Act I. Participating artists: Guy Ben-Ner (Israel), Chantal Michel (Switzerland), Nevin Aladag (Turkey), Katrin Sigurðardóttir (Iceland), Haraldur Jónsson (Iceland), Ólafur Arni Ólafsson & Libia Pérez de Siles Castro (Iceland/Spain)
The exhibition at the Akureyri Art Museum in Iceland forms the starting point of the HOMESICK Project, a series of exhibitions in co-operation with CIA.IS — Center for Icelandic Art together with the Akureyri Art Museum (Iceland), Platform Garanti Contemporary Art Center Istanbul (Turkey) and the Center for Contemporary Art (Israel).
Homesickness is a term used in a number of languages to express illness, pain or a longing for one's distant home. Homesickness is a concrete feeling or a romantic term. It is childish, antiquated and yet current and relevant since it touches on the question of one's own (individual or collective, ethnic or cultural) identity. The question of what 'home' can signify in times of globalised societies, which leads on to the question of what is signified by 'homesickness', can be put both concretely and metaphorically. The question can be grasped as an approach both towards the subjective phenomenon of people yearning for a sense of belonging and towards a cultural or ethnic group's collective pursuit of identity.
It was also its assonant double entendre that caused HOMESICK to be chosen as the laconic title of the exhibition project in which the desire to leave home is likewise expressed: to be sick of home. The globalised world economy demands modern nomadism from the individual; the home becomes a claustrophobic nightmare, escape represents freedom.
The theme of the HOMESICK project will vary at its four exhibition stations in 2006/2007. With Turkey, Israel, Switzerland and Iceland involved, the project concentrates on four countries located on the outer fringe of the European Union. The project is set against a background of quite diverse historical and current processes. It begins in Iceland before undergoing further development for the subsequent stations in Istanbul (Platform Garanti, December 2006), Tel Aviv (Center for Contemporary Art, spring 2007) and Switzerland (summer 2007).
The artists invited to participate in HOMESICK – Act I approach the subject both in a subjective-emotional manner as well as intellectually or theoretically. The works of the three Icelandic positions correspond to those of the three guest artists. Directly or indirectly they ask the viewers to question his or her own moods.
Guy Ben-Ner (Israel, b. 1969) represented Israel at the Venice Biennale in 2005 and currently lives in New York. His own four walls often provide the setting and he or his own family are the protagonists of his metaphoric video works.
Nevin Aladag (Turkey, b. 1972) lives in Berlin. Her works reflect the search of young Turks living in Germany for an identity of their own — a search that is strongly expressed in music and dance.
Chantal Michel (Switzerland, b. 1968) enters alien private spheres for her performances, videos and staged photography. The nature of her physical presence is a threat to the intimacy of the home.
Haraldur Jónsson (Iceland, b. 1961) targets subjective perception. His works, which he calls psychosomatic sculptures, focus directly on the viewer, confronting him/her physically and intellectually with the materialisation of emotional sensations.
Home as a site and a concept is one of the central themes present in the works by Katrin Sigurdardóttir (Iceland, b. 1967). The artist's signature use of miniature models explores the ways in which the experience of one place is entangled in the memory of other places.
Ólafur Arni Ólafsson (Iceland, b. 1973) & Libia Pérez de Siles Castro (Spain, b. 1971) have been working as a team since 1996, occupying public spaces with their installations. Their socially critical approach touches on socio-political themes and seeks to involve the visitor through active participation.
Akureyri Art Museum, Iceland Coordinator and Curator Act I: Christian Schoen (CIA.IS – Center for Icelandic Art) Opening: Saturday, May 6 2006, at 3 PM Period: May 6 – June 25, 2006 Open daily except Mondays from 12-5 PM
Panel Discussion: HOMESICKNESS – Nostalgia or Necessity Saturday, May 6, at 1 PM in the Deiglan, Akureyri With Ólafur Arni Ólafsson & Libia Pérez de Siles Castro, Nevin Aladag, Guy Ben-Ner, Haraldur Jónsson, Wojtek Szepel, Hannes Sigurdsson and Christian Schoen
Online: http://www.cia.is/news/homesick.htm http://www.homesickx4.blogspot.comhttp://www.listasafn.akureyri.is
Catalogue: A catalogue with contributions of Hjálmar Sveinsson and Christian Schoen will be published for the exhibitions
HOMESICK II December 2006 Turkey, Platform Garanti
HOMESICK III Spring 2007 Israel, Center for Contemporary Art
With friendly support by:
Baugur Group Pro Helvetia, Schweizer Kulturstiftung
CIA.IS - Center for Icelandic Art Hafnarstræti 16 IS-101 Reykjavík T: ++354-562-72 62 F: ++354-562-66 56 info@cia.iswww.cia.is www.artnews.is
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 15 Programme : Videoformes, Clermont-Ferrand, France.
04 > Olivier LEROI : videoexperience
Galerie de l'Art du Temps / Chapelle de l'Oratoire 19h
Vidéoformes présente : Olivier Leroi : Expériences vidéo et quelques dessins Videoformes presents : Olivier Leroi : Video experiences and some drawings
La procession du li(è)vre blanc • La piste est mon logis • Projet de vol • La neige au pays Dogon • La Brigade de Chambord
04/05 > 03/06 > PAYSAGES EN TRAVAUX
Galerie Paris-Sud - Cachan (94) 4bis rue du Docteur Gosselin Vidéoformes présente dans le cadre de la Biennale de Cachan et de l’exposition Paysages en travaux Policia acostada / Nathalie Rich-Fernandez (France) • La mobylette dans un système social de Peter Fischer (Suisse) • Pont-Croix de Nicolas Barrie France) • La carte postale de Pierre & Jean Villemin (France) • Flatland
de Pascale Weber (France) • Survey de John Fillwalk (USA) • Trans(e) bleu d’Emmanuel Avenel & Marie-France Giraudon (Canada) • Zeno's Paradox de Robert Arnold (USA) • Triptych de Robert Arnold (USA) • Tokyo Tonight d’Aikaterini Gegisian (Grande-Bretagne) • Unicode de Vincent Dudouet & Adolph Kaplan (France)
06 > 10 > Marché de l'art contemporain de Marin
Marché de l’Art contemporain du Marin - Martinique Contemporary Art Fair, Marin - Martinique (French West Indies) Cyber Base du Marin
VIDEOFORMES présente : VIDEO EMERGENCES, une sélection de films d’artistes internationaux d’Art Contemporain VIDEOFORMES presents : VIDEO EMERGENCES, a selection of video by international contemporary artists
Natalie Rich-Fernandez, Anne Sophie Maignant, Nicolas Barrié, Vincent Dudouet, Aikaterini Gegisian, Gabriella Golder, Pascal Lièvre, Mihai Grecu & Thibault Gleize, Eder Santos, Ethem Özgüven, Pierre-Yves Cruaud, Vincent et Franck Dudouet, Adolph Kaplan, Jean & Pierre Villemin, Jean-Gabriel Périot, Valérie Pavia, Chris Quanta, Frédéric Lecomte, Miller Levy, Lucas Bambozzi
18> 21 > Bochum Video Festival - D
Le Videofestival International de Bochum qui se tiendra à l'université de Bochum invite Gabriel Soucheyre, directeur de Videoformes au jury de la compétition internationale. Programmes spéciaux, compétition de VJ également au programme de cette 16e manifestation. The International Videofestival Bochum which takes place for the 16th time from may 18th - may 20th 2006 at the Ruhr-University Bochum invites Gabriel Soucheyre, Videoformes director as a member of the jury for the international competition. Besides, there will be a Vj-contest, various program-specials and of course the famous parties.
Infos
20 & 21 > PASSIMESSA : collection privée / private collection
Galerie de l'Art du Temps / Chapelle de l'Oratoire Les arts en balade samedi/saturday 20 / 05 : 10>12 h + 14>22 h dilmanche/sunday 21 / 05 : 14>19 h
PASSIMESSA, histoire d'une collection privée originale : peinture, sculpture, vidéo, photo. Plus qu’une balade, une véritable randonnée artistique ! Telle est la démarche de Passimessa, dont les 18 membres, faisant tirelire commune, délèguent chaque trimestre à un trio d’acheteurs la responsabilité d’élargir la collection du groupe. Cette collection, fruit de 3 ans d’acquisition partagée, est présentée pour la première fois au public. The story of an original private collection : painting, sculpture, video, photography. Passimessa is a group of 18 people whose passion is contemporary art. Three years ago, they gathered to put some money in a 'money box'. Every three months, a sub-group of three peole buy a work with the money collected by the members. This collection, fruit of 3 years of shared acquisition, is presented for the first time to the public. Infos • Contact
21 > 28 > ELECTROBOLOCHOC 2006
Château de Veauce (Allier)
Vidéoformes présente : Videoformes presents :
La fiancée de Jérôme Bosch, une vidéo de / a video by Vincent MENGIN-LECREULX.
videoformes@videoformes.com VIDEOFORMES - Vidéo & nouveaux médias dans l'art contemporain, Video & New Media in contemporary art http://ww2.nat.fr/videoformes/VIDEOFORMES/total_cadres.html
bénéficie du soutien de / is supported by : Ministère de la Culture/DRAC Auvergne, Ville de Clermont-Ferrand, Clermont-Communauté, Conseil Général du Puy-de-Dôme, Conseil Régional d’Auvergne
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 16 Exposition : Olivier Nottellet, galerie martinethibaultdelachâtre, Paris, France.
Olivier Nottellet « Black-out »
Fin de l’exposition : 29 avril 2006
galerie martinethibaultdelachâtre 4 rue de Saintonge F- 75003 Paris du mardi au samedi de 11h30 à 19h00
Olivier Nottellet FAITES PEUR
Centre régional d’Art contemporain Languedoc Roussillon SETE 15 avril –14 juin 2006
M & T La Châtre
galerie martinethibaultdelachâtre 4 rue de Saintonge. F-75003 Paris tel/fax: 00 33 (0)1 42 71 89 50 mobile: 06 20 46 68 12 mail: lachatregalerie@club-internet.fr website: www.lachatregalerie.com ouvert du mardi au samedi de 11h30 à 19h00.
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 17 Exposition : Mario Nigro. Peggy Guggenheim Collection, Palazzo Venier dei Leoni, Venise, Italie.
PRESS RELEASE
THE PEGGY GUGGENHEIM COLLECTION PRESENTS A GREAT MASTER OF ITALIAN ART
HOMAGE TO MARIO NIGRO
Homage to Mario Nigro renews the Solomon R. Guggenheim Foundation's commitment to masters of twentieth century Italian art. The exhibition takes place from April 22 to May 21 at the Peggy Guggenheim Collection, Venice. Gianni Nigro, president of the Archivio Mario Nigro, swiftly and generously endorsed the exhibition by donating two paintings in tempera on paper by Mario Nigro that will benefit the collections of the Solomon R. Guggenheim Foundation. Both of them will be exhibited: "Untitled", 1949 (from the "Black Panel Series") and "Untitled", 1950 (from the "Checkered Panels Series"), These works indicate the main thrust of the show, which examines the problematics of Nigro's artistic, conceptual and stylistic research. The art of Mario Nigro (Pistoia, 1917 – Livorno, 1992), one of the most dedicated protagonists of Italian artistic experiment in the second half of the twentieth century, is presented by curator Luca Massimo Barbero through a small cross-section of his work, with specific attention to the period of the late 1940s to the mid 1960s.
Homage to Mario Nigro is organized with the Archivio Mario Nigro, Milan, which is currently preparing a catalogue raisonné, edited by Germano Celant.
Mario Nigro belongs among those Italian painters whose pictorial language sustained a constant dialogue with international trends. His artistic identity, which continuously evolved, could be described as a highly personal conjugation of dynamic abstraction, with references to science, mathematics, music and tonality, according to a rational methodology focusing on structure and feeling. The exhibit constitutes a specific reading of Mario Nigro's distinctive and various production through a selection of seminal pieces that document his pre-eminence and the innovatory character of his research within the panorama of Italian and international abstraction -to which his many appearances at the Venice Biennale and other important shows testify.
The structure of the exhibition, both essential and richly suggestive, reveals the complexity and novelty of Nigro's art. His language manifests the expressive tension, rooted in an underlying dimension of existential despair existentialism, which is released not in the immediacy of an informel aesthetic nor of gestural painting but rather through reduction and essence, anticipating the Minimalist currents of the 1960s.
The first of the two galleries present a pair of paintings of 1950 from the "Checkerboard Series". In these Nigro animates a pattern of black and white orthogonals, whose genesis is to be found in the neo-plastic grids of Piet Mondrian, in a dynamic movement deriving from Italian Futurism, by multiple and overlapping planes and by shifting color tones. Within this implied pictorial space one can begin to read the creative process that led Nigro to his original evolution of the abstract constructivist language. The perceptual complexity of these images, with which Nigro was well ahead of his time, is expressed in a sequence of important works on paper from this period, including the two donations to the Solomon R. Guggenheim Foundation. They function dialectically with "Checkers" (1952), the painting which opens the exhibition and which signals the moment of transition from the dynamics of the orthogonal to those of the diagonal -a decisive shift that led to the paintings which are installed in the subsequent gallery. The second gallery illustrates the increased complexity and richness of Nigro's work between the 1950s and 1960s. The works exhibited here relate to his cycle of works exploring the concept of 'total space'--from sketches on paper to works on canvas and even three-dimensional pieces with environmental implications. Nigro's 'total space' visualizes the interpenetration of several degrees of reality and dimensionality while simultaneously referencing relativistic science and the living drama of 'becoming'. He does this with irreducible fugitive perspectives of optical-perceptual latticework which he sets in motion by both structural and chromatic means. The sketches on paper shown here reveal how Nigro proceeded serially by a complex iteration of structure and form which found manifold expression in the works on canvas: from the most orderly optical intersections in dimensional planes present in the work "Total Space": "Structures" (1953-56), to the dramatic break in "Total Space": "Interruption" (1954); from the rhythmic progressions of "Total Space": "Simultaneous Rhythmic Progressions" in "Vibratory Variation" (1955), to the linear progressions of "Total Space": "Simultaneous Dramatic Divergences" (1954-59), and "Total Space": "Opposing Contrasts" (1954-59-61).
Two additional works complete the room and expand upon Nigro's reflections on 'total space' in three-dimensions. From the "Total Space" of 1954: "Series of 12 Continuous Rhombi in Simultaneous Alternate Opposing Rhythmic Progression" (1965) is composed of 12 elements for a total length of 7 meters and was exhibited in a room dedicated to Nigro at the 1968 Venice Biennale. This is a sequential work experienced by walking through the combination of wall and floor sculptures. Secondly, "From Total Space: Simultaneous Opposing Rhythmic Progression" (1966) is a transposition of the virtual optical grids from the works on canvas into two opposing perspective lattices in wood painted red.
A bilingual catalogue in Italian and English will be published, which will trace the life and works of Mario Nigro, from the end of the 1940s to the 1960s.
# 184, March 2006
Insititutional Patrons: Banca del Gottardo, Regione del Veneto Events of The Peggy Guggenheim Collection are made possible thanks to the support of the Comitato Consultivo of The Peggy Guggenheim Collection and:
e-mail: info@guggenheim-venice.it; web site: http://www.guggenheim-venice.it Hours: 10.00-18.00; Closed Tuesdays Entrance: euro 10; euro 8 seniors over 65 years; euro 5 students; free 0-12 years For further information: Alexia Boro tel. 041. 2405 404; e-mail press@guggenheim-venice.it
Palazzo Venier dei Leoni 701 Dorsoduro 30123 Venezia, Italy Telephone 0039 041 2405411 Telefax 0039 041 5206885
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COMUNICATO STAMPA
LA COLLEZIONE PEGGY GUGGENHEIM RENDE OMAGGIO A UN GRANDE MAESTRO DELL’ARTE ITALIANA
OMAGGIO A MARIO NIGRO
Con OMAGGIO A MARIO NIGRO, la Fondazione Solomon R. Guggenheim, New York, e la Collezione Peggy Guggenheim rinnovano il loro interesse per i grandi maestri dell'arte Italiana del XX secolo. La mostra, dal 22 aprile al 21 maggio alla Collezione Peggy Guggenheim, è realizzata in occasione della donazione alla Fondazione Solomon R. Guggenheim da parte di Gianni Nigro, Presidente dell'Archivio Mario Nigro, di due opere che andranno ad impreziosire la collezione. "Senza titolo" (dal ciclo "Pannello in nero") del 1949 e "Senza titolo" (dal ciclo "Pannello a scacchi") del 1950, le due opere che costituiscono la donazione, sono anche il fulcro della mostra incentrata sulle problematiche artistiche, concettuali e stilistiche dell’autore. L'opera di Mario Nigro (Pistoia, 1917 – Livorno 1992), uno tra i più impegnati protagonisti della ricerca artistica italiana della seconda metà del Novecento, è letta da Luca Massimo Barbero, curatore della mostra, attraverso alcuni spaccati della sua attività, con particolare attenzione per il periodo tra la fine degli anni quaranta e la metà degli anni sessanta. L'OMAGGIO A MARIO NIGRO è realizzato in collaborazione con l'Archivio Mario Nigro di Milano, impegnato in una costante attività di ricerca finalizzata alla realizzazione del catalogo ragionato dell'opera dell’artista, a cura di Germano Celant.
Mario Nigro è uno dei maestri dell'arte italiana che ha sempre mantenuto una prospettiva e un riferimento ad una dimensione internazionale del proprio linguaggio: la sua identità espressiva, in continua e costante evoluzione, si può definire una personalissima declinazione di astrattismo dinamico, che combina riferimenti scientifici, matematici, musicali e tonali, secondo una prospettiva razionale tesa alla coniugazione di struttura ed emozione. La mostra illustra un significativo percorso nell’articolata e multiforme opera di Mario Nigro, attraverso alcune opere di fondamentale importanza che dimostrano la sua posizione di assoluto rilievo e la dimensione anticipatrice della sua ricerca nell’ambito del panorama dell'astrattismo italiano e internazionale, come testimoniano anche le sue numerose presenze alla Biennale di Venezia e ad altre importanti rassegne.
Il percorso della mostra, essenziale e al contempo ricco di spunti, permette di cogliere la complessità e novità dell'opera di Nigro, il cui linguaggio manifesta la sua tensione espressiva, legata a una dimensione esistenziale tragica, risolvendola non nell'immediatezza di una poetica informale e di una pittura d'azione, ma nel segno di una riduzione e di un'essenzialità che anticipano le correnti minimaliste degli anni sessanta.
Nella prima delle due sale in cui si articola l'esposizione, vengono presentate due opere del 1950, appartenenti al ciclo dei pannelli a scacchi, nelle quali le scansioni ortogonali bianche e nere, la cui genesi è direttamente riferita alle griglie neoplastiche di Piet Mondrian, vengono da Nigro attivate in senso dinamico, con un richiamo diretto alla poetica del Futurismo, attraverso la moltiplicazione dei piani di lettura delle superfici e le scelte di variazione cromatica. In questo stesso spazio, è inoltre possibile leggere il processo creativo che porta Nigro a questa originale elaborazione del linguaggio astratto costruttivo. La sua complicazione percettiva, fortemente anticipatrice rispetto ai suoi contemporanei si esprime, infatti, in una sequenza di alcune importanti opere su carta degli stessi anni, due delle quali costituiscono la donazione alla Fondazione Solomon R. Guggenheim. Questi lavori si pongono in dialogo con l’opera esposta all'ingresso della mostra, "Scacchi" (1952), che segna il momento di transizione dalla dinamica ortogonale a quella diagonale, passaggio decisivo che porta Nigro alle realizzazioni seguenti, presentate nella seconda sala.
Nella seconda sala è documentata l'ulteriore complessità e ricchezza che viene ad assumere l'opera di Nigro tra gli anni cinquanta e gli anni sessanta: nucleo ideale della sequenza di opere qui esposte è infatti la riflessione sviluppata in questi anni dall'artista nell'elaborazione progressiva del suo ciclo dello spazio totale, dagli studi su carta, alle opere su tela e ai suoi sviluppi tridimensionali e su scala ambientale. Lo spazio totale di Nigro, visualizza il compenetrarsi di diversi gradi di realtà e di dimensioni, riferendosi al contempo alla scienza relativistica e alla tragicità del divenire dell'esistenza, rese presenti in immagine nelle fughe prospettiche irriducibili di reticoli ottico-percettivi che l'artista movimenta sia in termini strutturali che cromatici. Tale ambito di espressione viene esplorato da Nigro in un complesso procedimento costruttivo strutturale, come evidenziato nella serie di studi su carta qui presentati, e trova multiforme espressione nelle opere su tela: dalle più composte intersezioni ottiche di piani dimensionali evidenti nelle opere "Spazio totale: strutture", del 1953-56, alla frattura drammatica di "Spazio totale: interruzione" (1954); dalle progressioni ritmiche di "Spazio totale: progressioni ritmiche simultanee in variazione vibratile", del 1955, a quelle lineari di "Spazio totale: divergenze simultanee drammatiche", del 1954-59, e di "Spazio totale: contrasti opposti", del 1954-59-61.
Chiudono la sala altre due opere che sviluppano la riflessione di Nigro sullo spazio totale, ma questa volta secondo una logica tridimensionale. Una di queste è l'opera di 7 metri di lunghezza in 12 elementi "Dallo spazio totale 1954: serie di 12 rombi continui a progressioni ritmiche simultanee alternate opposte", del 1965, che venne presentata da Nigro nella sala a lui dedicata alla Biennale di Venezia del 1968, nella quale l'artista realizzò una sequenza percorribile attraverso la combinazione di lavori tridimensionali a parete e a pavimento. L'altra, "Dallo spazio totale: progressioni ritmiche simultanee opposte", del 1966, è una trasposizione delle griglie ottiche virtuali delle opere su tela in due reticoli prospettici opposti in legno dipinto in rosso.
In occasione della mostra verrà pubblicata una monografia bilingue, in italiano e in inglese, che presenta il percorso storico-artistico di Mario Nigro, tra la fine degli anni quaranta e gli anni sessanta.
# 184, febbraio 2006
Institutional Patrons: Banca del Gottardo, Regione del Veneto I programmi della Collezione Peggy Guggenheim sono resi possibili grazie al sostegno del Comitato Consultivo della Collezione Peggy Guggenheim e:
e-mail: info@guggenheim-venice.it; sito web http://www.guggenheim-venice.it orario d'apertura: 10.00-18.00; chiuso il martedì ingresso: euro 10; euro 8 senior oltre i 65 anni; euro 5 studenti; gratuito 0-12 anni ulteriori informazioni: Alexia Boro tel. 041. 2405 404 - press@guggenheim-venice.it
Palazzo Venier dei Leoni 701 Dorsoduro 30123 Venezia, Italy Telephone 041 2405411 Telefax 041 5206885
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 18 Programme: the upgrade!istanbul #5, Istanbul, Turquie.
THE UPGRADE!ISTANBUL NOMAD
25th of April 2006 17:00- A performance by son:DA
son:DA _ artistic alliance _ Golec/Horvat _ since 2000 _ ( http://sonda.kibla.org ) has presented their work and performed in Moderna galerija Ljubljana, Institute for contemporary art Sofia, MACRO Rome, Kunstlerhaus Vienna, Tate modern London, The Renaissance society Chicago, Stedelijk Amsterdam, Contemporary art museum St.Loise, at Musikprotokoll am SteirischenHerbst Graz, International festival of animation in Utrecht, Hiroshima and Zagreb, at Sammlung Essl and on different festivals in Prague, Hull, Maribor, Florence, Berlin, Zagreb, Napoli alias on different radio and television stations.
son:DA is one of the guests of the Istanbul Residency Programme at Platform Garanti supported by American Center Foundation.
performative audio-video constellation 2003-2006 The technical support for this “low-fi” (analogical) constellation, with the help of which the “compositions” are made possible, is made from a simple sound interface alias coaxial cable, which reacts to the events, course and changes within the picture electrons on the screen of monitor-television and eventually, reacts to the simple touch of it. There is also a “analogical” connection between audio and video signal, such as video makes, manipulates, modulates audio signal and vice verse. A simple electronic signal circle is possible. The before prepared and presented (projected) pictorial alias audio compositions make up the scores. They are fundamental materials for the performances and interactivity. The duration of one loop is defined through the length of the pictorial-audio composition-score. Manipulation occurs in treating and projecting the audio and video signal into the system, into the constellation and into the real space. Modulation happens during the process of the performance-interactivity-improvisation with constellation, with this “low-tech” music instrument. The pictorial material of the different “compositions” includes and is represented by moving images (found footage or original video recording), as well as animated static images, words and numbers. Compositions could be also made out of new or found audio samples alias out of very simple or complex sound scores.
During the last three-year period has son:DA created a series of compositions as technical constellations with their guests (“unit 739” . “nr.7-G” . “nr.27-1-2-3” . “for two monitors”. “for a question”. “for Europe”.”for monitor, projector, bass and computer”.“nr.25” . "composition ar_co").
More on http://sonda.kibla.org/performances.html alias http://sonda.kibla.org/constallations.html
@ 17:00 due to the ongoing construction work, santralistanbul will host this meeting at Istanbul Bilgi University, Dolapdere Campus, The Court Room.
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The Upgrade! Istanbul is a monthly gathering for new media artists, academicians, practitioners, curators and for all of the other actors of digital culture, organized by NOMAD and hosted by santralistanbul.
Upgrade! is an international, emerging network of autonomous nodes united by art, technology, and a commitment to bridging cultural divides. Its decentralized, non-hierarchical structure ensures that Upgrade! (i) operates according to local interests and their available resources; and (ii) reflects current creative engagement with cutting edge technologies. While individual nodes present new media projects, engage in informal critique, and foster dialogue and collaboration between individual artists, Upgrade! International functions as an online, global network that gathers annually in different cities to meet one another, showcase local art, and work on the agenda for the following year.
Current Nodes: Boston (United States), Chicago (United States), Lisbon (Portugal), Johannesburg (South Africa), Istanbul (Turkey), Montreal (Canada), Munich (Germany), New York (United States), Oklahoma City (United States), Scotland, Seoul (South Korea), Sofia (Bulgaria), Tel Aviv (Israel), and Vancouver (Canada).
Future Nodes: Amsterdam (Netherlands), Athens (Greece), Liverpool (United Kingdom), London (United Kingdom), Toronto (Canada), and Wellington (New Zealand) will launch in the near future.
Organizations: Eyebeam, Turbulence.org, New Media Scotland, Art Centre Nabi, The Western Front, The Society for Arts and Technology (SAT), InterSpace, i-camp, DCA, CCA, No-Org.net, Art Interactive, NOMAD/santralistanbul, program angels/lothringer13, Open-Node.com, t-u-b-e, C-M.TV, Lisboa 20, AT. joburg, and the University of the Witwatersrand.
Upgrade! Background: Since April 1999, a group of new media artists and curators have gathered in New York City. The first meeting took place at a bar in the east village with Tim Whidden & Mark River [MTAA], Mark Napier and founder Yael Kanarek. Upgrade! New York partnered with Eyebeam in March 2000.
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http://www.nomad-tv.net/upgradehttp://www.nomad-tv.net
NOMAD Station 01: PK 16 Suadiye 34741 Istanbul Turquie
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 19 Exposition : : Guy Limone, Espace Paul Ricard, Paris, France.
EXPOSITION « LIMONE » DE GUY LIMONE A L’ESPACE PAUL RICARD du 9 juin au 13 juillet 2006
L’exposition « LIMONE » de Guy Limone se tiendra à l’Espace Paul Ricard du 9 juin au 13 juillet prochain.
« La couleur est ma règle de base », souligne Guy Limone, qui se considère avant tout comme peintre, même si son travail n’utilise que très rarement les mediums habituels de la peinture. Concernant la couleur jaune, dit-il, « elle revient régulièrement dans mon travail et pourrait à elle seule, qualifier mon projet, mon attitude dans le monde de l’art ». Cette couleur bénéficie, selon lui, d’un statut particulier : « elle propage ses vertus dans la communication, la décoration mais n’est guère utilisée dans l’art ». Or, pour Guy Limone, l’utilisation assidue des couleurs, le jaune en premier, l’amène sur un terrain qu’il dénomme utopique.
Les oeuvres présentées dans cette exposition occupent trois espaces : le jaune parmi les autres couleurs, le jaune qui monte dans le monde, les porteurs de jaune.
Dans le premier espace, Guy Limone propose deux oeuvres. Deux cercles en mouvement, telles des roues de loterie, offrent de façon subtile et ludique, à travers des figurines peintes, une synthèse de la couleur préférée et de la couleur la moins appréciée des personnes interrogées, lors d’un sondage réalisé par l’artiste.
La seconde oeuvre intitulée « l’arc en ciel en jaune » expose la couleur jaune dans sa confrontation aux autres couleurs. Dans cette « peinture-installation » où les images proviennent d’imprimés, de magazines, de publicités, etc., on reconnaît la pensée visuelle de Guy Limone, cette envie « de donner à voir autrement toutes ces images dont nos boîtes à lettres regorgent et auxquelles personne ne fait attention ».
Dans l’espace Le jaune qui monte dans le monde, Guy Limone nous présente des photos de villes de différents pays sur des tubes fluorescents équipés de variateurs, démontrant ainsi que le jaune a besoin, selon lui, d’une forte luminosité pour atteindre son intensité. « C’est peut-être, explique-t-il, une des raisons du rejet relatif de cette couleur dans les sociétés occidentales au climat assez gris alors que dans les pays ensoleillés, le jaune est plus valorisé ». Le dernier espace les porteurs de jaune est illustré notamment par une oeuvre qui se compose d’un cercle de 175cm de diamètre dessiné par des figurines habillées de peintures de différents jaunes. Enfin, Guy Limone sollicitera une nouvelle fois le public dans la création d’un atelier vidéo où chacun pourra venir raconter devant une caméra sa relation particulière avec le jaune. Chaque vidéo sera projetée dans sa version brute au fur et à mesure de l’exposition avant de trouver plus tard sa forme définitive.
GALERIE ROYALE 2 9 RUE ROYALE — 75008 PARIS T. 33 (0)1 53 30 88 00 F. 33 (0)1 40 06 90 78 espacepaulricard@ricard.fr http://www.espacepaulricard.com
|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| |-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-|-| 20 Exposition : les Puits du désir (The Wells of desire) OOO Mohamed Rachdi & Co, Église Notre-Dame de Montataire, Montataire Centre , France.
les Puits du désir (The Wells of desire) OOO Mohamed Rachdi & Co les Puits du désir OOO Mohamed Rachdi & Co
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les Puits du désir OOO Mohamed Rachdi & Co
- exposition : avril-mai-juin 2006 - vernissage : vendredi 05 mai à partir de 18h à l'Église Notre-Dame de Montataire
Artistes convives : OOO Az-in & Mo OOO Elodie BARTHÉLEMY OOO Maryline BEAUPLET-DORNIC OOO Delphine BLOC OOO Gaële BRAUN OOO C. BÉATRICE OOO Tatiana CRUZ OOO Claudie DADU OOO Claire DIGNOCOURT OOO Geneviève GUETEMME OOO Agnès GOMEZ OOO Natalie LAMOTTE OOO Daphné LE SERGENT OOO Cécile MASSART OOO Laurence MEDORI OOO Dominique RENSON OOO Lynn SCHWARTZ OOO
Il y a eu d’abord Escales (installation montée à l’Espace Paul Mayer, Amiens, octobre 2000), ensuite les Dunes du désir (à l’Espace Culturel François-Mitterrand, Beauvais, juillet-août-septembre 2001). Aujourd’hui, je réactive ces deux dispositifs plastiques à plusieurs mains en réalisant une œuvre intitulée Les Puits du désir dans l’église Notre-Dame de Montataire sur la période avril-mai-juin 2006.
Dans les premières versions, l’espace de l’exposition était métamorphosé en un désert graphique jalonné d’oasis fictionnelles. Relançant, à l’échelle de l’espace architectural, la mémoire iconographique consignée dans un manuscrit du XIIIème siècle (la fameuse miniature d’al Wâssitî représentant un troupeau de dromadaires), ces installations étaient intimement articulées avec l’espace de l’exposition. Elles s’y déployaient en territoires graphiques qui offraient des parcours d’écritures interminables. Des mouvements travaillant constamment à entraîner les déplacements du visiteur dans la dynamique de leur déploiement rythmique noir et blanc ponctué ici et là, comme autant de dunes de sable, par des reliefs et des creux où poussait une profusion d’éléments formels, chromatiques et lumineux : véritables spectacles de fables plastiques dont le thème récurrent était le désir. Et qui ne sont rien moins que celles qui y sont inventées par les artistes invités. En œuvrant ainsi en son sein et en l’ouvrant sur leurs propres univers, mes convives fécondaient mon territoire artistique, le fertilisaient et le vivifiaient en y apportant chacun les richesses de sa culture personnelle et les perspectives de son imaginaire.
La nouvelle version, Les Puits du désir, se présente comme une suite logique des premières, mais sous une tout autre forme. En effet, le visiteur entrant dans l’église de Montataire découvre une installation artistique contemporaine d’apparence minimaliste. Poussant de la terre tels des troncs d’arbres en amplifiant le rythme hypostyle du monument, le dispositif de cette installation investit la totalité de l’espace de l’église en y distribuant des volumes élémentaires : de simples cylindres en tôle qui se détachent par la froideur industrielle de leur grisaille argentée sur la chaleur minérale des ocres jaunes et autres nuances naturelles de la pierre taillée. Dès que le visiteur s’approche d’un cylindre, le volume métallique se métamorphose en margelle de puits qui le maintient, pour ainsi dire, en marge d’elle. Elle ? Chacune des dix-sept artistes femmes que j’ai conviées afin d’investir l’intérieur d’un cylindre, de déployer en son puits les délires poétiques de sa propre création artistique sur le thème essentiel, universel et sans doute au fondement de tout acte artistique, sinon de tout acte humain : le désir.
Le dispositif Les Puits du désir a pour objectif de transfigurer l’intérieur de cet édifice cultuel et culturel en un espace de délices sensuels partout animé du souffle d’Éros.
Partout l’ "O" circule dans cette Œuvre à trente-six mains, partout des Ouvertures s’y Organisent en échO à l’"O" de l’Origine – de l’Origine du monde de Gustave Courbet aussi bien, naturellement ! - ; en écho à l’ "O" — mais aussi à " l’EAU ", bien sûr, à ce flux de vie et de régénérescence — de l’Oasis primordiale ; en échO à l’"O" de la circonférence de l’Œil du puits qui invite le regard du visiteur à plonger à travers l’Orifice de son volume cylindrique (tout à la fois creux et reliefs) ouvrant sur l’abîme sans fond de l’altérité, sur ce qui me hante depuis toujours et me fait agir, sur le mirage insaisissable en moi et en l’autre… ; mais aussi, en échO au cri du "O" du Où en quête permanente de son éternel lieu atopique à travers des étendues utopiques…
Origine, Oasis et Femme ont toujours habité mes œuvres. Ces figures, constamment présentes mais sans cesse fuyantes, se chevauchent en effet et interfèrent continuellement dans mon activité artistique. Elles en représentent tout à la fois le motif et le moteur, la référence et l’énergie qui l’anime dans l’errance de ses investigations créatrices…
À l’origine donc autant qu’à l’horizon de mon activité créatrice : le féminin. Aussi, en déployant Les Puits du désir au sein de Notre-Dame, sous le témoignage de ses voûtes architecturales et l’élégance de leurs courbures répercutant en leur plastique l’écho mnésique des palmes originelles, je saisis l’occasion idéale de célébrer le féminin dans les figures de sa création, sa puissance et sa force aimantes, ce qu’il représente pour mon existence et mon œuvre, la passion de sa démence et le bonheur de son désir en moi agissants…
Les Puits du désir est aussi pour moi un moment magnifique à saisir afin que je cultive, épaulé par mes convives, une œuvre comme un jardin sensuel autant que spirituel partout irrigué du flux érotique. Un jardin à vivre comme un hommage à la mémoire fertile du fou de Nitham, à l’intuition visionnaire d’un être inspiré et aimanté par l’Amour du Désir Éternel à partir de l’éblouissement face à l’éclat du visage de la belle, un hommage au grand maître soufi Mouhy Eddine Ibn ‘Arabi qui a su, par-delà toute attitude dogmatique, prendre le chemin de l’exil créateur en épousant la voie de la mystique et de l’expression poétique et plus singulièrement la voix du féminin en elle, convaincu qu’elle est seule vraiment capable de doter d’ailes d’Éros l’imagination créatrice… Mohamed Rachdi
Autour des puits du désir :
- du 25 avril au 30 juin 2006 exposition à l’église Notre-Dame, ouvert du mardi au samedi, de 14h à 19h - vendredi 05 mai à partir de 18h Vernissage à Église Notre-Dame de Montataire - Samedi 08 avril rencontre de Mohamed Rachdi avec les étudiants des Beaux-Arts de Creil et présentation du livre >>>interférences (éditions le-RARE, Amiens) à l’espace Matisse (Creil) - Mercredi 17 mai conférences (14 heures au Palace) : Nicole DE PONTCHARRA, Jean LANCRI et Mohamed RACHDI Videoprojection : carte blanche à Videoattitudes performance : az-in & mo (horaires à définir) - Samedi 20 mai Bus du plaisir : >démarrage à 14h30 : lectures sur le désir à l’Eglise Notre-Dame par la compagnie Chenevoy ; >départ effectif du Bus : 16h30 avec interventions de la compagnie C’est pas si grave ; >arrivée à l’espace Matisse de Creil : 17h00 – rencontre avec le public autour des Puits errants exposés à l’espace Matisse avec lectures de textes.
>Un livre autour de Les Puits du désir sera publié par les éditions le-RARE
>operation grâce au soutien de : la Ville de Montataire, la Ville de Creil, le Ministère de la Culture et de la Communication (DRAC Picardie), le Fasild, le Conseil Régional de Picardie, le Conseil Général de l’Oise, Entrelacs et le-RARE
Information : -Lieu de l’exposition principale : Eglise Notre Dame de Montataire Rue de l’église 60160 Montataire Centre France -Espace Matisse (phone : +33 (0)3 44 24 09 19) Quartier du Moulin 101 rue J.B. Carpeaux 60100 Creil France Contact : +33 (0)3 44 24 69 97 +33 (0)6 77 86 30 78 contact@le-rare.com www.le-rare.com
=========== ENGLISH ===========
les Puits du désir (The Wells of desire) OOO Mohamed Rachdi & Co
- exhibition : April-May-June 2006 - Privat opening : -Friday 5th May, from 6 pm in Église Notre-Dame de Montataire
Guest artists : OOO Az-in & Mo OOO Elodie BARTHÉLEMY OOO Maryline BEAUPLET-DORNIC OOO Delphine BLOC OOO Gaële BRAUN OOO C. BÉATRICE OOO Tatiana CRUZ OOO Claudie DADU OOO Claire DIGNOCOURT OOO Geneviève GUETEMME OOO Agnès GOMEZ OOO Natalie LAMOTTE OOO Daphné LE SERGENT OOO Cécile MASSART OOO Laurence MEDORI OOO Dominique RENSON OOO Lynn SCHWARTZ OOO
First Escales was exhibited at Espace Paul Mayer, Amiens, October 2000, then the Dunes of Desire opened at Espace Culturel François-Mitterrand, Beauvais,July-August-September 2001. And now Les Puits du désir (The Wells of desire) will be shown at Notre-Dame's Church in Montataire from April to June 2006.
In the first versions, the exhibitions sites were metamorphosed into graphic deserts punctuated with fictional oases and herds of dromedaries drawn in ink. Displayed in graphic territories, they were offering journeys of never-ending writings. Both installations also revived, on an architectural scale, the iconographic memory of a reknown miniature from a XIIIth century manuscript by al Wâssitî. For Les Puits du désir I am re-activating similar conceptual devices while also engaging the participation of seventeen women artists. Escales and Dunes were site-specific installations designed to constantly lead the viewers along with the dynamics of the display. The visitors shifted with the black and white rhythm, ondulating like sand dunes, within the reliefs and hollows, hills and valleys, of a profusion of formal, chromatic and luminous elements. In the midst of this graphic territory, individual artists were invited to tell the story of their own desires. Their tales unfolded in concrete representations of their individual desires. A universe of artistic expression was held within another universe, thus fertilizing, enriching and revitalizing my artistic territory by introducing the wealths of their personal cultural background. My perspective as well as the viewer's broadened to experience the imaginative world of many cultures.
Though For Les Puits du désir is a logical follow-up to the two other installations, it is presented in another form. Indeed, visitors entering the church in Montataire will discover a contemporary artistic installation of minimalist appearance. Steel cylinders grow up from the floor like tree trunks and amplify the height of the vaulted roof and the rhythm of the pillared space. The stark lines and colors of the cold steel cylinders create a stunning and provocative contrast to the warmth of the subtle yellow-ochre hue of the stone. When visitors make their way to the edge of a well they will be peering into the well of desire of an individual artist. Seventeen female artists have been invited to fill in the inside of seventeen separate cylinders - or wells - to their rims, to unleash the frenzied poetry of their own artistic creations on the quintessential theme arguably at the root of all artistic - if not all human - activity : Desire.
For Les Puits du désir aims at transforming the inside of this sacred and cultural building into a place of sensual delights animated by the breath of Eros.
The "O" circulates everywhere : in the Œuvre (French for work), in wOrk with thirty-six hands ; in Openings and in Organized. From the "O" in echO to the "O" of the Origin - from the Origin of the world by Gustave Courbet but also to "EAU" (French for water prononced "O"). Listen for and see the "O" in the sOurce and flOw of life and regeneration ; the "O" of the primordial Oasis ; the "O" of the Œil (French for eye)The wells which invite the visitors to gaze down through the Orifice of its cylindrical volume opening into the unfathomable abyss of otherness, into what has always haunted me and made me act, into the elusive mirage in myself and the other…"O" also in echO to the cry of the "O" of "Où" (where) in a permanent quest for the eternal atopic place through utopic areas…
Origin, Oasis and Woman have always haunted my works. Visual references to these key themes are ever present yet elusive. They constantly overlap each other and interact in my artistic practice. They represent its design and its motivation they embody the reference and the energy which animate my work and fuel the wandering of my creative investigation…
Be it at the origin of a work or on the horizon watching over me from a distance the feminine is always present. I feel the exhibition in Montataire brings the varied threads of my work together in a monumental way. By installing For Les Puits du désir within the elegant curves of Notre-Dame's vaulted womb, echoing the visual memory of their mnesic origins, the palm branches, and by inviting a large group of women artists to show as well, I grasp the ideal opportunity to celebrate the feminine energy, feminine art and my own feminine side. Furthermore by designing a site-specific work for a church named after Marie, the Christian world's most central feminine figure, I combine the loving strength and symbolism of what comes from elsewhere with what has been my world since birth. This is a time for me to recognize my own passion for the feminine energy or the anima. Allowing myself to follow what I consider feminine energy has allowed me to experience my art and life with the mad happy passion of its desire at work in myself…. I see this installation as a garden of wishing wells brimming with the essence of Eros.
The creation For Les Puits du désir is also a wonderful opportunity to grasp in order to cultivate, with the help of my guests, a work I see as a sensual and spiritual garden irrigated with an erotic flux. More precisely the garden pays homage to the fertile memory of the man madly in love with Lady Nitham. The story of this mad poet is told by the great soufi master Mouhi Eddine Ibn 'Arabi. With the mastery of only the truly great poets, Ibn 'Arabi tells us of the Mad Man's visionary intuition and how it was empowered by his love for the state of "Eternal Desire". From the Mad Man's sight of the dazzling radiance of Lady Nitham's face he fell happily into this state of never-ending desire. My garden pays homage to the kind of state the Mad Man lived for. The feminine voice that Ibn 'Arabi channelled so well can best be found in this state. Through his choice of creative exile his poetry radiated the feminine. Ultimately without dogmatism and with pure mysticism the Mad Man convinced me that the only way to transform the erotic into art was through the feminine voice… Mohamed Rachdi
Around Les puits du désir :
-April 25 to June 30 – 2006 : exhibition in Notre-Dame’s church, opening Tuesday to Saturday, 2 pm to 7 pm -Friday 5th May, from 6 pm : Private viewing in Église Notre-Dame de Montataire -Saturday 8th April : Mohamed Rachdi meets students of Beaux-Arts in Creil and presents his book >>>interférences (éditions le-RARE, Amiens) in espace Matisse (Creil). -Saturday 13th May : Bus du plaisir : >begins at 2.30 : reading on desire in Notre-Dame’s church by the Chenevoy’s company ;>Bus departure : 4.30 pm with interventions by company C’est pas si grave ; >arrival at espace Matisse in Creil : 5 pm – meeting with the public and reading around Les Puits errants exhibited in espace Matisse - Wednesday 17th May : -conferences (2pm in le Palace, Montataire) : Nicole DE PONTCHARRA, Jean LANCRI and Mohamed RACHDI -video screening : carte blanche à Videoattitudes performance : az-in & mo (horaires à définir)
>A book about For Les Puits du désir " The Wells of Desire " will be published by the editions le-RARE
>operation supported by : la Ville de Montataire, la Ville de Creil, le Ministère de la Culture et de la Communication (DRAC Picardie), le Fasild, le Conseil Régional de Picardie, le Conseil Général de l’Oise, Entrelacs et le-RARE
Information :
-Main exhibition site : Eglise Notre Dame de Montataire Rue de l’église 60160 Montataire Centre France -Espace Matisse (phone : +33 (0)3 44 24 09 19) Quartier du Moulin 101 rue J.B. Carpeaux 60100 Creil France Contact : +33 (0)3 44 24 69 97 +33 (0)6 77 86 30 78 contact@le-rare.com le-Réseau-d'Art-Recherche-et-Essai -------------------------------------www.le-RARE.com
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